Steve von Till Announces European Live Dates

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Neurosis guitarist/vocalist and Neurot Recordings founder, Steve von Till, reveals a string of European live dates in support of his latest solo album, the immense and celestial, A Life Unto Itself. From June 29th through July 5th, Steve von Till will trek through the UK, Germany and France.

 

Steve von Till Solo Shows:

6/29/2015 St Pancras Old Church – London, UK

7/01/2015 Jägerklause – Berlin, DE

7/02/2015 UT Connewitz – Leipzig, DE

7/03/2015 Jubez – Karlsruhe, DE

7/04/2015 La Peniche – Lille, FR

7/05/2015 Espace B – Paris, FR

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Steve von Till – As The Crow Flies

steve_von_till-as_the_crow_fliesIt is one thing to become acknowledged within your genre as a leader. It is still another to reach outside that genre, and become more than an artist, but a sage.

A sage is part explainer of the past, part philosopher and part artist who makes the future seem full of interest and beauty. No matter how long someone labors in popular music, they will eventually desire to become the village sage, because that is a position above entertainer. It is a trusted voice that is a guide for culture.

Steve von Till rose to fame with Neurosis, whose music he took far beyond hardcore into the realm of psychedelic and experimental music. With this re-issue of his solo album from 2000, we can hear his voice develop from rage and ambiguity to a desire to reform culture itself. This acoustic guitar album shapes itself from simple melodies and muttered, droning vocals melded into slow atmospheric songs.

As The Crow Flies attempts to create a folk music out of the postmodern time, having let the ashes of dystopia fall. These songs are sentimental and emotional, but not in the cloyingly insistent way that pop must be. Instead, like the music of Tom Waits or Dead Can Dance, songs try to nail the feeling of a particular time in life and galvanize us toward both clarity and an amorphous desire to surpass the past.

von Till carefully paces the album so that songs appear in a varied order, using additional instruments sparsely to differentiate themselves, such that mood is not broken but slowly changes like a banner twisting in a nearly-becalmed afternoon wind. These are songs both unexpected and familiar which wring out of our decaying age a new reason to believe in the emotional power of living, and that makes As The Crow Files a success of a different color.

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Von – Dark Gods: Seven Billion Slaves

von-dark_gods_seven_billion_slavesVon gained fame for the ultra-minimalist droning 1990s album Satanic Blood which raged forth in three-note songs that resembled air raid sirens of the soul going off in an infinite night of bestial darkness.

Returning after a long hiatus, the band conjure up Dark Gods: Seven Billion Slaves to bring us the greatest of rarities in metal: an honestly experimental album. Most “experimental” albums involve recycling avant-garde and progressive rock themes of the 1970s, but there isn’t anything at all like this album.

Perhaps recognizing that repeating the past would be tame, Von have instead chosen to make a form of ritual music that sounds like a collision between black metal, later Danzig and a horror movie soundtrack. The songs are just as simple but more musical, and are generally played more slowly but have a stronger sense of developing theme.

Like a soundtrack, these songs are designed to fade into the background and influence mood rather than command attention. Much like a few repeated notes signal a dark theme ahead in a movie, these songs use very similar melodies to horror movie soundtracks and presage a limitless and expanding fear. The mood is similar to Profanatica‘s Profanatitas de Domonatia or Demoncy‘s Enthroned is the Night. Much as in a horror movie we watch the characters go into the room where evil lurks, or prepare to yank aside the curtain covering what they fear, this album exudes a menacing sense of impending and inexorable threat.

Percussion works in a way that is rarely seen outside of opera. Its timekeeping functions are present when the music is uptempo, but for slower pieces it forms pure mood, a clomping footstep like the tread of an executioner. Guitars play very similar patterns repeatedly and nearly constantly, but are frequently overlaid with background chaotic noise that like distortion itself brings out submerged harmonics and gives the music added body and menace.

Melodies themselves sound like horror movie music tinged with the more listenable vein of occult or dark rock, sounding sometimes like Danzig’s later works and sometimes like the Sisters of Mercy. They fit together well and evoke moods clearly and strongly, which makes this album more interesting for repeated listens than Satanic Blood. The ritual nature of the pacing of song development, coupled with the uncanny ability that vocals had on the first album to trigger a sense of dread and despair by offsetting rhythm like an attacker outside the law, builds momentum behind this atmosphere.

Dark Gods: Seven Billion Slaves is going to take many by surprise. It’s sparse, meaning that it’s not a constant wall of sound; it is often slower and more theatrical; it is complex in that many simple riffs together tell a story more than cyclic complex riffs can. It is experimental, in that while this style could be called black metal, there’s a lot more going on, but unlike “kitchen sink” bands who throw in other genres at random, everything here is fused into one consistent and expressive style.

While this may not deliver conventional metal thrills, Dark Gods: Seven Billion Slaves shapes its minimalistic riffs into a changing atmosphere of morbid curiosity and onrushing fear. The result is overwhelming, like a vision of hell brought to earth, and with its convoluted and esoteric patterns shows us darkness revealing itself before our eyes, while we stare at the screen too scared to scream.

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Immortal Release Title Track of New Album “Northern Chaos Gods”

Cash grab alert!  After giving the classic board room “fuck you” to cornerstone musician Abbath, the corporate conglomerate of Demonaz and Horgh have secured the legal rights to the band name “Immortal” and are now positioned to promptly squeeze their fans to blindly buy music and merch advertised as that of a Norwegian black metal legend.  Although the pair have only played together on one album out of 12, they’re billing this as “the comeback of Immortal!” and have already gotten the infamously money-hungry Nuclear Blast records to set up the most overused rock n’ roll ponzi scheme.

Together, the pair have released a new song “Northern Chaos Gods,” the title/intro track of their first foray into commercialized rehash.  So how did the miraculous (fake?) recovery of Demonaz’s tendonitis work out?  Exactly how far into the waters of retro-rehash did the band wonder?  Have they evolved even the slightest as musicians or do they remain forever trapped in the 90’s? As trust fund life-dropouts living in the woods at the expense of their family might say:

“Let’s find out!”

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Concert Review: Metalmania 2018

On  7th  April, another edition of a long standing Polish festival Metalmania took place. One day, two stages, twenty four bands. It was the second one organized after a recent reactivation. The original Metalmania was an early big metal event in that part of the Europe – quite a feat given Polish Communist and post-Communist realities. Then, due to various reasons, the festival was gradually losing its relevance, dwindling and finally went into hiatus for 8 years. There is no sense, however, to cling to its bygone local importance or whatever glorious past. So how does it look now? 

While too much reliance on more mainstream gothic and heavy contributed to a collapse of previous incarnation of the festival, and now it was death and black oriented, the music on the big scene is rather consistently aimed at straight metal through all of its generations and styles, ending with bands like Dead Congregation or Blaze of Perdition and with some of the more modern sounds on a small scene. On a downside, the fest resurfacing mainly as a stage for classic bands may be reflecting the actual state of metal, indicating that the newer bands are unable to fill the void with something equally strong to their predecessors. 

The festival was obviously rough around the edges (and surprisingly violent – I almost got caught into two different fights just from where I was standing) and the sound was uneven and average overall. It was organized better than in the past, but still perceptibly within Polish standards, that is crudely and with lack of imagination or simply negligence in some areas (although Martin van Drunen said on stage that the organization was great!). Perhaps a very fortunate by-product of these characteristics, which may contribute to the positive reception of this festival, is how – I dare to say – conservative it is, both in terms of lineup and general spirit. With Napalm Death and (I suppose) liberal speed metallers on one side and sort of crypto-nazis on the other, who always find a way to show up in some form, the fest also covered broadest ideological spectrum that is possible for a mainstream event. 

As of 2018 this festival is yet to experience types of modern degeneracy, often coming from outside, which can be seen on festivals elsewhere. There were some obligatory side attractions, like exhibition of works of Christophe Szpajdel (who actually speaks Polish fluently), meet-up with the bands and lots of merch, but nothing delving too much into a fan idiocy or really not related to metal. Very few freaks, zero exotic people, no random participants, just fairly traditional metalheads, mostly in the 90s style, as it should be, world without end. However, those spoiled by abundance of propositions and by big festivals in Germany or Czech Republic will probably miss out on some of these modest qualities. 

And then there’s the surreal, sci-fi sight at the arrival – a monumental, Communistic “The Saucer” occupied by nothing but a tribe of long haired, black clad drunks… 

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Death Of War Metal Imminent!

For years, Nuclear War Now!’s forum has been the haven for life dropout D&D neckbeards searching for some form of friendship and community. But according to website tracking metrics, the site has seen a massive decline in it’s traffic over the past 6 months.  While viewership of metal sites can rise and fall unpredictably on metal sites, the above statistic should frighten anyone who cares about keeping their site relevant.  Sites with active forums should be doing much better than your the average blog-style metal site, so the numbers above show an unforgivable descent into irrelevancy.

But given that the site is predominantly frequented by war metal fans that have no regard for actual music, the crash in interest also proves something far bigger:  war metal, as a sub genre, is in its last days.

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BASED VARG CAN’T BE BOUGHT

Varg Vikernes is one of the rare musicians in death/black metal that won’t sell his soul for the dollar.  In a new video posted to his Thulean Perspective YouTube channel, Varg has revealed that some scumbag promoter has at one point offered over £ 300,000 for him to do a live Burzum show in London.  While many in black metal swore never to play live, almost everyone ranging from Darkthrone to Graveland has given in at some point.  But with the most notorious metal musician in the genre’s history, blood is thicker than water and that’s never been more prevalent than now.

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Warum ist Averse Sefira sehr Schwach?

Article by Raimund Weiner. Ffans und die Untermenschen may recognize me from the comments under such alter egos as Brainer Rascalslut und Strainer Weidensbutt; yes, the veil has come off, liebe Untermenschen.

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Forteresse Announce Récits Patriotiques

French Canadian Gothenburg style metal band Forteresse announced a rehearsal album, Récits Patriotiques, today for all those who care about their boring Gothenburg material that sounds like early Amon Amarth with no tempo changes or variations for beer metallers who do not critically listen to music and prefer to just leave metal on in the background like a heavier version of smooth jazz they can ignore and check in on once every two minutes to see if the band did anything new or are back to scratching their asses. Récits Patriotiques will be released on March 18th, 2017 by Sepulchral Productions on 750 CDs for 750 fundergrounders or hipsters who want to crank frogified Davy Crockett metal to feel special about themselves like kale-flavored ice cream sandwiches. Preorder Récits Patriotiques here if you hate money and wear coonskin caps during sex.

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